Review: Mahler's Fourth Symphony In Norfolk

August 07, 2010|By JEFFREY JOHNSON, The Hartford Courant

NORFOLK — Looking around suspiciously, I approached the entrance of the Music Barn at the Norfolk Chamber Music Festival. Ninety years after it was first performed, reviewing Mahler's fourth symphony in the Erwin Stein arrangement carries with it the pleasures of the forbidden.

At a time when the world seemed dislocated, Arnold Schoenberg created a "Society for Private Musical Performances" so that those who loved new music could get their bearings without critics and other rabble-rousers tearing through their events. The society existed from 1918-1921. One could enter concerts only by subscription or invitation and signs were often tacked to the door with statements like "Kritikern ist der Eintritt verboten (critics are not allowed to enter)."

Stein studied with Schoenberg and developed this arrangement of Mahler's fourth symphony for the Society in 1920.

Conductor Ransom Wilson lead 13 players: flute, oboe, clarinet, string quartet, bass, two percussionists, two pianos and harmonium, in a performance impressive for its crystal balances in a scoring where every detail was completely exposed from start to finish.

It takes time to get accustomed this strange sound world where the clarinet often took over prominent horn and bassoon lines from the original scoring of the symphony. But this was not simple reassignment of parts. Stein's arrangement created the possibility to hear the symphony as a familiar object lit from an unexpected angle. Wilson and this hard-working ensemble gave us the joy of rediscovery.

First violinist Mialtin Zhezha impressed with expressive and warm sound and faultless intonation. Cellist Colin Stokes played the opening tune of the third movement with lyrical intensity but also voiced the gentle humor of the interludes. They led a string section that played with a razor-sharp clarity that anchored the performance. Flutist Christopher Matthews, oboist Lauren Blackerby, and clarinetist Steven Naimark excelled at negotiating tricky and mercurial balances and all three played with an edgy and attractive sound.

The only drawback was extraneous sound coming from the windbox of the harmonium which distracted, particularly in the third movement.

Soprano Jihee Kim joined the ensemble as soloist in the final movement. This is a high pressure assignment. After more than forty-five minutes of gorgeous music, it was her task to sing about what it is like in heaven. Within seconds the entry of the voice can destroy an otherwise engaging performance of "Mahler four" for any number of reasons. No pressure. But Kim sang with a sweet tone that drew the audience to her. She smiled. Heaven was perfect.